Homework (25th Anniversary Edition)
Daft Punk once described 1997’s Homework as their attempt to prove you could make an album in your bedroom with next to nothing. It sounded, on the face of it, like club music, but it also captured the immediacy of two friends (Thomas Bangalter and Guy-Manuel de Homem-Christo) bouncing off the walls to whatever felt good to them. Which, in effect, is what Daft Punk was. The album’s title was conceived with purpose: Homework sounded like kids preparing for a bigger, more adult test, but also like work made—simply and lovingly—at home. For listeners unfamiliar with the dance-music subcultures the group drew on, the album had the cheerful quality of a guided tour: This is what house sounds like, these are its textures and shapes, this is how it thumps when you play it loud—and, in the case of “Teachers,” this is who created it. But at a time when the most visible forms of mainstream electronic music were the rock-influenced hybrids of big beat (The Chemical Brothers, The Prodigy), Homework proved that pure dance music could appeal to mainstream audiences without being mixed with anything. Its genius was in its simplicity: Even if you thought “Da Funk” or “Around the World” were irritating, you wouldn’t quickly forget hearing them. They were dance tracks that functioned like toys: clever, creative little constructions that were easy to grasp and, in their additive-and-subtractive builds, highly addictive. And to rock-oriented purists who associated synthesizers with pretense and bloat, Homework was as minimal as the Ramones and as powerful as AC/DC. In its bright, simple rigidity, Homework opened a world where listeners could let go.
January 20, 1997 31 Songs, 3 hours, 2 minutes Distributed exclusively by Warner Music France / ADA France, ℗ 1997, 2022 Daft Life Ltd.
Music videos, more by daft punk, featured on.
Apple Music Electronic
Apple Music Dance
Apple Music ’90s
Apple Music Alternative
Apple Music Hits
Select a country or region
Africa, middle east, and india.
- Côte d’Ivoire
- Congo, The Democratic Republic Of The
- Niger (English)
- Congo, Republic of
- Saudi Arabia
- Sierra Leone
- South Africa
- Tanzania, United Republic Of
- United Arab Emirates
- Indonesia (English)
- Lao People's Democratic Republic
- Malaysia (English)
- Micronesia, Federated States of
- New Zealand
- Papua New Guinea
- Solomon Islands
- Bosnia and Herzegovina
- Czech Republic
- France (Français)
- Luxembourg (English)
- Moldova, Republic Of
- North Macedonia
- Portugal (Português)
- United Kingdom
Latin America and the Caribbean
- Antigua and Barbuda
- Argentina (Español)
- Bolivia (Español)
- Virgin Islands, British
- Cayman Islands
- Chile (Español)
- Colombia (Español)
- Costa Rica (Español)
- República Dominicana
- Ecuador (Español)
- El Salvador (Español)
- Guatemala (Español)
- Honduras (Español)
- Nicaragua (Español)
- Paraguay (Español)
- St. Kitts and Nevis
- Saint Lucia
- St. Vincent and The Grenadines
- Trinidad and Tobago
- Turks and Caicos
- Uruguay (English)
- Venezuela (Español)
The United States and Canada
- Canada (English)
- Canada (Français)
- United States
- Estados Unidos (Español México)
- الولايات المتحدة
- États-Unis (Français France)
- Estados Unidos (Português Brasil)
- 美國 (繁體中文台灣)
- Best New Music
- Pitchfork Radio
By Larry Fitzmaurice
December 2, 2018
Daft Punk ’s Homework is, in its pure existence, a study in contradictions. The debut album from Thomas Bangalter and Guy-Manuel de Homem-Christo arrived in 1997, right around the proliferation of big-beat and electronica—a twin-headed hydra of dance music fads embraced by the music industry following the commercialization of early ’90s rave culture—but when it came to presumptive contemporaries from those pseudo-movements, Homework shared Sam Goody rack space and not much else. Daft Punk’s introduction to the greater world also came at a time when French electronic music was gaining international recognition, from sturdy discotheque designs to jazzy, downtempo excursions—music that sounded miles away from Homework ’s rude, brutalist house music.
In the 21 years since Homework ’s release, Daft Punk have strayed far from its sound with globe-traversing electronic pop that, even while incorporating other elements of dance music subgenres, has more often than not kept house music’s building blocks at arms’ length. 2001’s Discovery was effectively electronic pop-as-Crayola box, with loads of chunky color and front-and-center vocals that carried massive mainstream appeal. Human After All from 2005 favored dirty guitars and repetitive, Teutonic sloganeering, while the pair took a nostalgia trip through the history of electronic pop itself for 2013’s Random Access Memories . Were it not for a few choice Homework tracks that pop up on 2007’s exhilarating live document Alive 2007 , one might assume that Homework has been lost in the narrative that’s formed since its release—that of Daft Punk as robot-helmeted superstar avatars, rather than as irreverent house savants.
But even as the straightforward and strident club fare on Homework remains singular within Daft Punk’s catalog, the record also set the stage for the duo’s career to this very day—a massively successful and still-going ascent to pop iconography, built on the magic trick-esque ability to twist the shapes of dance music’s past to resemble something seemingly futuristic. Whether you’re talking about Bangalter and Homem-Christo’s predilection for global-kitsch nostalgia, their canny and self-possessed sense of business savvy, or their willingness to wear their influences on their sleeve like ironed-on jean-jacket patches—it all began with Homework .
It couldn’t possibly make more sense that a pair of musicians whose most recent album sounds like a theme park ride through pop and electronic music’s past got their big break at Disneyland. It was 1993, and schoolboy friends Bangalter and Homem-Christo’s rock band with future Phoenix guitarist Laurent Brancowitz, Darlin’—named after a track from the 1967 Beach Boys album Wild Honey that the three shared an affinity for—had disbanded after a year of existence that included a few songs released on Stereolab ’s Duophonic label. (Melody Maker writer Dave Jennings notoriously referred to their songs as possessing “a daft punky thrash,” which led to the pair assuming the Daft Punk moniker.)
While attending a rave in Paris, Bangalter and Homem-Christo had a chance encounter with Glasgow DJ/producer Stuart McMillan, the co-founder of the Soma Recordings dance label; like any aspiring musicians would, they gave him a demo tape of early Daft Punk music. The following year Soma released Daft Punk’s debut single “The New Wave,” a booming and acid-tinged instrumental that would later evolve into Homework cut “Alive.”
A follow-up, “Da Funk” b/w “Rollin’ & Scratchin’,” hit shops in 1995; according to a Muzik profile two years later, its initial 2,000-platter pressing was “virtually ignored” until rave-electronica bridge-gap veterans the Chemical Brothers started airing out its A-side during DJ sets. A major-label bidding war ensued, with Virgin as the victor which re-released “Da Funk” as a proper single in 1996 with non- Homework track “Musique” as its B-side. During this time, Bangalter and Homem-Christo casually worked on the 16 tunes that would make up Homework in the former’s bedroom, utilizing what The Guardian ’s Ben Osborne referred to in 2001 as “ low technology equipment ”—two sequencers, a smattering of samplers, synths, drum machines, and effects, with an IOMEGA zip drive rounding out their setup.
Bangalter and Homem-Christo’s work ethic while assembling the bulk of Homework was of the type that makes sloths appear highly efficient by comparison: no more than eight hours a week, over the course of five months. “We have not spent much time on Homework ,” Bangalter casually bragged to POP . “The main thing is that it sounds good… We have no need to make music every day.” The songs were crafted with the intention of being released as singles (“We do not really want to make albums,” Bangalter claimed in the same interview), Homework ’s eventual sequencing a literal afterthought after the pair realized they had enough material to evenly fill four sides of two vinyl platters. “Balance,” the pair said in unison when asked about Homework ’s format-specific sequencing in Dance Music Authority following the album’s release. “It is done for balance.”
Indeed, Homework is practically built to be consumed in side-long chunks; taking the album in at a single 75-minute listen can feel like running a 5K right after eating an entire pizza. Its A-side kicks off with the patient build of “Daftendirekt”—itself a live-recording excerpt of introductory music used during a Daft Punk set at 1995’s I Love Techno festival in Ghent—and concludes with the euphoric uplift of “Phoenix”; the B-side opens with the literal oceanic washes of “Fresh” before stretching its legs with the loopy, Gershon Kingsley-interpolating “Around the World” and the screeching fist-pump anthem “Rollin’ & Scratchin’.” The third side keeps things light with the flashy, instructional “Teachers” before getting truly twisted on “Rock’n Roll,” and the fourth side takes a few rubbery detours before landing on the full-bodied “Alive”—the thicker and meaner final form of “The New Wave”—and, quixotically, a slight and rewound “Da Funk” return, aptly titled “Funk Ad.”
Bangalter explained to POP that the title of Homework carries a few meanings: “You always do homework in the bedroom,” he stated, referencing the album’s homespun origins before elaborating on the didactic exercise that creating the album represented: “We see it as a training for our upcoming discs. We would as well have been able to call it Lesson or Learning .” That instructional nature is reflexive when it comes to listeners’ presumptive relationship with the album, as Homework practically represents a how-to for understanding and listening to house music.
Nearly every track opens with a single sonic element—more often than not, that steady 4/4 rhythm inextricably tied to house music—adding every successive element of the track patiently, like a played-in-reverse YouTube video showcasing someone taking apart a gadget to see what’s inside. Such a pedagogic approach can have its pitfalls; there’s always a risk of coming across as too rigid, and Daft Punk arguably fell victim to such dull, fussy didacticism later in their careers. But they sidestep such follies on Homework by way of the purely pleasurable music they carefully assembled, piece-by-piece, for whoever was listening.
Under the umbrella of house music, Homework incorporates a variety of sounds snatched from various musical subgenres—G-funk’s pleasing whine, the cut-up vocal-sample style of proto-UK garage made popular by frequent Daft Punk collaborator Todd Edwards , disco’s delicious synths and glittery sweep—to craft a true musical travelogue that also hinted at the widescreen sonic scope they’d take later in their careers. Above all, the album represents a love letter to black American pop music that’s reverberated through Daft Punk’s career to date—from Janet Jackson ’s sample of “Daftendirekt” on her 2008 Discipline track “So Much Betta” to Will.i.am’s failed attempt to remix “Around the World” the year previous, as well as the duo’s continued collaborations with artists ranging from Pharrell to Kanye West and the Weeknd .
The spirit of house music’s Midwestern originators is also literally and musically invoked throughout. Over the winding house-party groove of “Teachers,” Daft Punk pay homage to their formative influences, ranging from George Clinton and Dr. Dre to Black house and techno pioneers like Lil Louis, DJ Slugo, and Parris Mitchell—and in a meta twist, the song’s structure itself is a literal homage to Mitchell’s 1995 Dance Mania! single “Ghetto Shout Out,” an interpolation clearly telegraphed in the middle of Daft Punk’s astounding contribution to BBC’s Essential Mix series in 1997 .
Alongside Daft Punk’s preoccupations with American popular music, Homework also carries a very specific and politically pointed evocation of their native Paris in “Revolution 909,” the fourth and final single released from Homework that doubled as a critique of anti-rave measures taken by the French government after Jacques Chirac assumed power in 1995. “I don’t think it’s the music they’re after—it’s the parties,” Homem-Christo told Dance Music Authority , with Bangalter adding, “They pretend [the issue is] drugs, but I don’t think it’s the only thing. There’s drugs everywhere, but they probably wouldn’t have a problem if the same thing was going on at a rock concert, because that’s what they understand. They don’t understand this music which is really violent and repetitive, which is house; they consider it dumb and stupid.”
“Revolution 909” opens with ambient club noise, followed by the intrusion of police sirens and intimidating megaphone’d orders to “stop the music and go home.” The accompanying Roman Coppola-helmed music video was even more explicit in depicting the frequent clash between ravers and law enforcement that marked dance music’s rise to the mainstream in the early-to-mid-’90s; amidst a kitschy instructional video on making tomato sauce, a pair of cops attempt to disperse a rave, a young woman escaping one of their grasps after he becomes distracted by a tomato sauce stain on his own lapel.
It’s been rumored, but never quite confirmed, that Bangalter himself appears in the video for “Revolution 909”—a slice of speculation gesturing towards the fact that Daft Punk’s Homework era was the time in which the duo began embracing anonymity. The now-iconic robot helmets wouldn’t be conceived of until the Discovery era, and the magazine stories that came during Daft Punk’s pre- Homework days were typically accompanied by a fresh-faced photo of the pair; during Homework ’s promotional cycle, however, they donned a variety of masks to obscure their visages, including frog and pig-themed disguises .
In conversation with Simon Reynolds for The New York Times in 2013, the pair cited Brian De Palma’s glam-rock masterpiece Phantom of the Paradise as artistic inspiration for their decision to retain visual anonymity, and Daft Punk’s press-shy tendencies (since Homework , the interviews they’ve chosen to take part in have been few and far between) are firmly situated in a long tradition of letting the music do the talking in dance culture—from the sci-fi evasiveness of Drexciya and Aphex Twin ’s relative reclusiveness to the preferred reticence of Burial and his contemporaries in the UK bass scene.
But refusing to turn themselves into rock stars upon Homework ’s release also afforded Daft Punk a crucial element that has undoubtedly aided their perpetual ascent to the present-day: control. Retaining a sense of anonymity was but one of the conditions that the pair struck with Virgin upon signing to the label before Homework ’s release; while the music they released under the label (before signing to Columbia in 2013) was licensed exclusively to Virgin, they owned it through their own Daft Trax production and management company.
But Homework proved influential in other, more explicitly musical ways. G-house, an emergent dance subgenre in the mid-2010s dominated by acts like French duo Amine Edge & Dance, borrows liberally from Daft Punk’s own musical mash of hip-hop’s tough sounds and house music’s pounding appeal; the dirty bloghouse bruisers of Parisian collective Ed Banger—founded by Pedro Winter aka Busy P, who acted as the group’s manager until 2008—would literally not exist were it not for Homework , and that goes double for the party-hardy bloghouse micro-movement of the mid-late 2000s, which Ed Banger’s artists practically dominated. Parisian duo Justice , in particular, owe practically the entirety of their 2007 landmark † to the scraping tension of “Rollin’ & Scratchin’.”
It’s tempting, too, to tie a connective thread between Homework and the brash sounds that proliferated during the peak heyday of the financial descriptor-cum-music genre known as EDM; close your eyes while listening to “Alive”’s big-tent sweep and try not to imagine the tune destroying a festival crowd. But for all of Homework ’s aggressive charms, it’s also retained a homespun intimacy in comparison to how positively widescreen Daft Punk’s music became afterwards. “We focus on the illusion because giving away how it’s done instantly shuts down the sense of excitement and innocence,” Bangalter told Pitchfork in 2013, and the fact that two Beach Boys fans fiddling around in their bedroom could conceive of something so generously in-your-face and playful as Homework might still stand as Daft Punk’s greatest illusion yet.
All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.
Daft Punk: Homework
Daftendirekt lyrics, wdpk 83.7 fm lyrics, revolution 909 lyrics, da funk lyrics, phoenix lyrics, fresh lyrics, around the world lyrics, rollin' & scratchin' lyrics, teachers lyrics, high fidelity lyrics, rock'n roll lyrics, oh yeah lyrics, burnin' lyrics, indo silver club lyrics, alive lyrics, funk ad lyrics.
If you wanted Daft Punk, but something original, lets go back to the beginning. In ‘97, Britpop (a fusion of British music and pop music) dominated the world. Basically, one year later, OK Go and Coldplay would form. Homework was a startler to some, and ravers were not ready for it. But this album has a few more surprises than it’s tongue-in-cheek manner.
“Alive” steps away from sampled music, while “Da Funk” , with its fusion of samples and house, made it one of the best-selling singles Daft Punk ever released, “Teachers” , with its fusion of rap and pop, stands classic, and was featured in many YouTube videos, while “Daftenedirekt” along with “Wdpk 83.7 FM” opened us up to the world of Daft Punk.
Most recognizable was the successful “Around the World” , which charted highly in many countries and had wide-reaching impacts on increasing Daft Punk’s popularity. The music video , which received heavy airplay on MTV, was helmed by the French director Michel Gondry and choreographed by Blanca Li.
In retrospect, this album is a bit raw and sounds way distinct than its successors, but it’s an instant classic to love and listen to for its more-than-1-hour duration.
Random Access Memories (10th Anniversary Edition)
Homework (25th Anniversary Edition)
Daft Punk – Homework
- Phonographic Copyright ℗ – Daft Trax
- Copyright © – Daft Trax
- Produced For – Daft Trax
- Licensed To – Virgin France
- Licensed To – Virgin Records Ltd.
- Published By – Zomba Music Publishing Ltd.
- Published By – Delabel Editions
- Published By – Daft Music
- Mixed At – Daft House
- Recorded At – Daft House
- Mastered At – The Exchange
- Glass Mastered At – EMI Uden
- Pressed By – EMI Uden
- Design Concept [Sleeve Concept], Art Direction – Guy-Manuel de Homem-Christo , Thomas Bangalter
- Illustration [Daft Punk Logo Created By] – Guy-Manuel de Homem-Christo
- Layout [Album Layout], Artwork [Additional] – Serge Nicolas
- Mastered By – Nilesh 'Nilz' Patel *
- Photography By [Black & White Live Photograph] – Philippe Lévy
- Photography By [Cover & Satin Photograph + Vintage Central Photograph + Details] – Nicolas Hidiroglou
- Written-By, Performer, Producer – Guy-Manuel de Homem-Christo , Thomas Bangalter
Barcode and Other Identifiers
- Barcode (Text) : 724384 260927
- Barcode (Scanned) : 724384260927
- Label Code : LC 3098
- Price Code (F) : PM 538
- Rights Society : bel BIEM
- Matrix / Runout (Variant 1) : EMI UDEN 8426092 @ 2 2-4-5-NL
- Matrix / Runout (Variant 2) : EMI UDEN 8426092 @ 2 2-2-2-NL
- Matrix / Runout (Variant 3) : EMI UDEN 8426092 @ 2 2-4-9-NL
- Matrix / Runout (Variant 4) : EMI UDEN 8426092 @ 2 2-1-17-NL
- Matrix / Runout (Variant 5) : EMI UDEN 8426092 @ 2 2-4-9-NL
- Matrix / Runout (Variant 6) : EMI UDEN 8426092 @ 2 2-2-13-NL
- Matrix / Runout (Variant 7) : EMI UDEN 8426092 @ 2 2-2-15-NL
- Matrix / Runout (Variant 8) : EMI UDEN 8426092 @ 2 2-1-16-NL
- Matrix / Runout (Variant 9) : EMI UDEN 8426092 @ 2 2-1-12-NL
- Matrix / Runout (Variant 10) : EMI UDEN 8426092 @ 2 2-5-1-NL
- Matrix / Runout (Variant 11) : EMI UDEN 8426092 @ 2 2-4-6-NL
- Matrix / Runout (Variant 12) : EMI UDEN 8426092 @ 2 2-5-27-NL
- Matrix / Runout (Variant 13) : EMI UDEN 8426092 @ 2 2-1-24-NL
- Matrix / Runout (Variant 14) : EMI UDEN 8426092 @ 2 2-1-26-NL
- Matrix / Runout (Variant 15) : EMI UDEN 8426092 @ 2 2-1-18-NL
- Matrix / Runout (Variant 16) : EMI UDEN 8426092 @ 2 2-1-17-NL
- Matrix / Runout (Variant 17) : EMI UDEN 8426092 @ 2 2-4-17-NL
- Matrix / Runout (Variant 18) : EMI UDEN 8426092 @ 2 2-2-7-NL
- Matrix / Runout (Variant 19) : EMI UDEN 8426092 @ 2 2-1-18-NL
- Matrix / Runout (Variant 20) : EMI UDEN 8426092 @ 2 2-4-10-NL
- Matrix / Runout (Variant 21) : EMI UDEN 8426092 @ 2 2-1-12-NL
- Matrix / Runout (Variant 22) : EMI UDEN 8426092 @ 2 2-1-26-NL
- Matrix / Runout (Variant 23) : EMI UDEN 8426092 @ 2 1-3-6-NL
- Matrix / Runout (Variant 24) : EMI UDEN 8426092 @ 2 2-5-1-NL
- Matrix / Runout (Variant 25) : EMI UDEN 8426092 @ 2 2-2-23-NL
- Matrix / Runout (Variant 26) : EMI UDEN 8426092 @ 2 2-1-25-NL
- Matrix / Runout (Variant 27) : EMI UDEN 8426092 @ 2 2-3-9-NL
- Matrix / Runout (Variant 28) : EMI UDEN 8426092 @ 2 2-1-19-NL
- Matrix / Runout (Variant 29) : EMI UDEN 8426092 @ 2 2-1-4-NL
- Matrix / Runout (Variant 30) : EMI UDEN 8426092 @ 2 2-1-25-NL
- Matrix / Runout (Variant 31) : EMI UDEN 8426092 @ 2 2-2-4-NL
- Matrix / Runout (Variant 32) : EMI UDEN 8426092 @ 2 2-1-10-NL
- Matrix / Runout (Variant 33) : EMI UDEN 8426092 @ 2 2-4-3-NL
- Matrix / Runout (Variant 34) : EMI UDEN 8426092 @ 2 2-1-26-NL
- Mastering SID Code : IFPI L047
- Mould SID Code (Variant 1) : IFPI 1529
- Mould SID Code (Variant 2) : IFPI 1550
- Mould SID Code (Variant 3) : IFPI 1534
- Mould SID Code (Variant 4) : IFPI 1522
- Mould SID Code (Variant 5) : ifpi 1552
- Mould SID Code (Variant 6) : IFPI 155D
- Mould SID Code (Variant 7) : IFPI 1544
- Mould SID Code (Variant 9) : IFPI 1554
- Mould SID Code (Variant 10) : IFPI 154A
- Mould SID Code (Variant 11) : IFPI 1595
- Mould SID Code (Variant 12) : IFPI 15EC
- Mould SID Code (Variant 13) : IFPI 156B
- Mould SID Code (Variant 14) : IFPI 1515
- Mould SID Code (Variant 15) : IFPI 154C
- Mould SID Code (Variant 16) : ifpi 15608
- Mould SID Code (Variant 17) : ifpi 1533
- Mould SID Code (Variant 18) : IFPI 154C
- Mould SID Code (Variant 19) : ifpi 155B
- Mould SID Code (Variant 20) : IFPI 154A
- Mould SID Code (Variant 21) : none
- Mould SID Code (Variant 22) : ifpi 1592
- Mould SID Code (Variant 23) : ifpi 1573
- Mould SID Code (Variant 24) : ifpi 1599
- Mould SID Code (Variant 25) : [missing]
- Mould SID Code (Variant 26) : ifpi 1538
- Mould SID Code (Variant 27) : ifpi 15A4
- Mould SID Code (Variant 28) : ifpi 1594
- Mould SID Code (Variant 29) : ifpi 1550
- Mould SID Code (Variant 30) : ifpi 153F
- Mould SID Code (Variant 31) : ifpi 1595
- Mould SID Code (Variant 32) : ifpi 1594
- Mould SID Code (Variant 33) : ifpi 152C
- Mould SID Code (Variant 34) : ifpi 1536
Other Versions (5 of 84)
- Have : 6954
- Avg Rating : 4.3 / 5
- Ratings : 1536
- Last Sold : Feb 27, 2023
- Lowest : $1.06
- Median : $4.15
- Highest : $9.03
- 👌 by psyance_QL
- Albums I've Listened To by SquigglyThing
- My CDs by handsome_Hank
- The cries of an affectionate noise by lacapsulasonora
- Albums for 2023 by SquigglyThing
- Mis albumes favoritos by Mau5Kids
- Earth-Shattering Albums Of 1997 by ortogon
- Joutes 1996-2016 by Titi-Panzer
- Mis Discos by merdenoms_
- Sold collection by phaedrabass
- restpostenmassendefekt by repomade
- The Case Logic by PoeticNomad
- Fredrik Strage 500 by DiNer0
- Top by johannes.boel
- CD2019 by mrJake
- Alltime Favorites by manni_maker
- Best Of by pike121
- 2nd ear catalogue by 2nd_ear
- My Favorite Albums. by dada.move
- Roots Of Taste: Timeless And Unforgotten by olegbombey
Daft Punk once described 1997’s Homework as their attempt to prove you could make an album in your bedroom with next to nothing. It sounded, on the face of it, like club music, but it also captured the immediacy of two friends (Thomas Bangalter and Guy-Manuel de Homem-Christo) bouncing off the walls to whatever felt good to them.
Homework Studio album by Daft Punk Released 20 January 1997 (1997-01-20) Recorded 1993–1997 Studio Daft House (Paris) Genre French house techno disco Chicago house Length 73:57 Label Virgin Soma Producer Thomas Bangalter Guy-Manuel de Homem-Christo Daft Punkchronology Homework (1997) Discovery (2001) Singlesfrom Homework "Da Funk"
Daft Punk’s introduction to the greater world also came at a time when French electronic music was gaining international recognition, from sturdy discotheque designs to jazzy, downtempo...
If you wanted Daft Punk, but something original, lets go back to the beginning. In ‘97, Britpop (a fusion of British music and pop music) dominated the world. Basically, one year later, OK Go and...
Mixed and recorded @ Daft House, in Paris, France. Mastered at The Exchange, in London. Sleeve concept & art direction: for Daft Arts. Album layout & additional artwork: @ Magic Design. Daft punk logo created for Daft Arts. The tracks 4, 8, 14 & 15 were originally released on Soma Quality Recordings.